I wonder how you feel about Edita Gruberova? She has a fair shair of mannerism in her singing.
Round Two: Dido's Lament. Flagstad and Petibon
Back to more normal fare. Two gorgeous but very very different performances for you.
Purcell: Dido and Aeneas / Act III - "Thy hand, Belinda... When I am laid in earth" · Patricia Petibon · La Cetra Barockorchester Basel · Andrea Marcon
Kirsten Flagstad sings Dido's Lament - 'When I am laid in earth' Philharmonia Orchestra
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She does, but not nearly as much as Petibon. Gruberova has her way of performing and she's certainly not my cup of tea, although I think she was a referential Zerbinetta, easily excelling vocally, and a part in which her idiosyncrasy happily matches the character's personality.I wonder how you feel about Edita Gruberova? She has a fair shair of mannerism in her singing.
But other than that, I'm not interested in her because of her underdeveloped chest voice, which makes some of her Gilda's music unaudible. Her Norma is, of course, a JOKE.
Petibon is irritating because she could perform canonically, but decides to get out of it and do some stupid, clownesque and unmusical things. I guess she has decided that's her signature. She must believe it a fresh approach or something.
Talking about divas and the importance of the image they project, her looks and cover pictures are a real statement of principles. A warning in her case.
At least poor Florence was not trying to do it wrong ON PURPOSE!You're my new hero in finding the operatically bizarre! 🤡🤡🤡🤡🤡🤡 That Olympia by Petibon goes right next to Florence Foster Jenkins. Amen.
I can't stand either performance, Petibon's dramatically nonsensical emoting, Flagstad's constant loopy portamento and bovine tone quality.
I can't stand either performance, Petibon's dramatically nonsensical emoting, Flagstad's constant loopy portamento and bovine tone quality.
Take shelter!!
I think he's... not wrong at all. Flagstad sometimes slides from under the pitch upward. It's not really portamento but sliding or scooping.
Take shelter!!
I don't recall Gruberova ever singing as clownishly as Petibon. She annoys me much less.I wonder how you feel about Edita Gruberova? She has a fair shair of mannerism in her singing.
Yes she does, a perfect attack is difficult. Baroque and classical music is more exposing of not having a perfect attack. I don't care if someone thinks her inherent timbre sounds bovine, to each their own. Cheers! 🌞I think he's... not wrong at all. Flagstad sometimes slides from under the pitch upward. It's not really portamento but sliding or scooping.
As a strict vegetarian, I would not swallow Flagstad's rendition if there were anything bovine about it, and I have no beef with it.
Now, could someone point out specific minute and second markers where they hear Flagstad scooping, as opposed to portamento? I'm interested in hearing exactly what you mean.
Flagstad's rendition is magisterial. She combines poise, depth of feeling and beauty of tone in way that Petibon cannot match. Others have covered Petibon's faults.
Now, could someone point out specific minute and second markers where they hear Flagstad scooping, as opposed to portamento? I'm interested in hearing exactly what you mean.
Flagstad's rendition is magisterial. She combines poise, depth of feeling and beauty of tone in way that Petibon cannot match. Others have covered Petibon's faults.
Attacking notes from below was a trait of Flagstad's that sometimes annoys me slightly - slightly, because the effect is generally slight and far from a constant practice. It's an old-fashioned way of singing which I've noticed in a number of singers from her day, but it isn't equivalent to the big, unmusical scoops of certain Italian tenors.
Now, could someone point out specific minute and second markers where they hear Flagstad scooping, as opposed to portamento? I'm interested in hearing exactly what you mean.
I think those scooping are very subtle, and a first and quick listening might not be enough to pick all of them out. But to my ears these are the places/syllables that she either go up from under the pitch (ever so slightly) (denoted with bold) or not firmly attack the pitch in the center (denoted with Italic).
RECITATIVE
Thy hand, Belinda, darkness shades me,
On thy bosom let me rest, (she sings "let me a rest", inserting an "a" before scooping up to rest)
More I would, but Death invades me;
Death is now a welcome guest.
ARIA
When I am laid, am laid in earth, May my wrongs create
No trouble, no trouble in thy breast;
When I am laid, am laid in earth, May my wrongs create
No trouble, no trouble in thy breast;
Remember me, remember me, but ah...ah...ah...ah...ah! forget my fate.
Remember me, but ah...ah...ah...ah...ah...ah! forget my fate.
Remember me, remember me, but ah...ah...ah...ah...ah! forget my fate.
Remember me, but ah...ah...ah...ah...ah...ah! forget my fate. (the intonation of the last "fate" is a tiny tiny bit off)
Note: The 4 downward glissandi on "No trouble, no trouble" seem to cause her a little bit of trouble, as they don't sound as smooth as they could be. Also there's tendency for her voice to automatically =mini-swell certain notes (for example: remember ME, remember ME), thus making the impression of breaking the legato somewhat. And no i'm not making a mistake. She repeats 2 parts of the aria twice, making it 4 parts.
Flagstad had a more standard arrangement, which made me enjoy the aria more. But Pettibon was good, too.
So the holy cow was mooing after all?Attacking notes from below was a trait of Flagstad's that sometimes annoys me slightly - slightly, because the effect is generally slight and far from a constant practice. It's an old-fashioned way of singing which I've noticed in a number of singers from her day, but it isn't equivalent to the big, unmusical scoops of certain Italian tenors.
Ave Kirsten Flagstad in excelsis, all praise to the magnificent mooing of the greatest holy bovine of them all. Amen.So the holy cow was mooing after all?
Is this just me or are you more savage recently?So the holy cow was mooing after all?
Or maybe i've not been here long enough?
I'd sacrifice chickens and cattle to Flagstad any time, it's the other one that made me mad. Not even going to name her in the same sentence as the Norwegian.Is this just me or are you more savage recently?
You seem to almost hate this woman as a person and not just her interpretation. Is there anything that she's done that's immoral, or it is just the mannerism in her singing that puts you off? I don't mean to attack you. I'm just being curious. I ask myself the same question but i personally can't find a singer who i hate as a person just because i dislike the interpretation. Your passionate loathing of her is certainly fascinating from my point of view.I'd sacrifice chickens and cattle to Flagstad any time, it's the other one that made me mad. Not even going to name her in the same sentence as the Norwegian.
I don't think her voice is bovine at all. One of the most majestic and beautiful voice i've ever heard. But the scooping can be a little hard on my ears. 😀Yes she does, a perfect attack is difficult. Baroque and classical music is more exposing of not having a perfect attack. I don't care if someone thinks her inherent timbre sounds bovine, to each their own. Cheers! 🌞
No. I know absolutely NOTHING about this woman, she could be an angel come down from heaven and I wouldn't care at all. For the simple reason that if I loathe someone's artistic views or approaches, I don't feel the slightest need to dig into who they are on a personal level. It seems quite logical to me.You seem to almost hate this woman as a person and not just her interpretation. Is there anything that she's done that's immoral, or it is just the mannerism in her singing that puts you off? I don't mean to attack you. I'm just being curious. I ask myself the same question but i personally can't find a singer who i hate as a person just because i dislike the interpretation. Your passionate loathing of her is certainly fascinating from my point of view.
Besides, she snuck in front of me at the store once....You seem to almost hate this woman as a person and not just her interpretation. Is there anything that she's done that's immoral, or it is just the mannerism in her singing that puts you off? I don't mean to attack you. I'm just being curious. I ask myself the same question but i personally can't find a singer who i hate as a person just because i dislike the interpretation. Your passionate loathing of her is certainly fascinating from my point of view.
just kidding
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